Sushmita Banerjee was born in Calcutta (present-day Kolkata, India) to a middle-class Bengali family. Her father worked in the civil defense department and her mother was a homemaker. She was the only sister to her three brothers. She first met her future husband Janbaz Khan, an Afghan businessman, at a theatre rehearsal in Calcutta[4] and married him on 2 July 1988.[2] The marriage took place secretly in Kolkata, as she feared her parents would object. When her parents tried to get them divorced, she fled to Afghanistan with Khan.[2] She then discovered that her husband had a first wife, Gulguti. In her book, Gulguti is described as one of her brother-in-law's wives.[5] Although shocked, she continued to live in Khan's ancestral house in Patiya village, with her three brothers-in-law, their wives, and children.[1][2] Khan later returned to Kolkata to continue his business, but Banerjee could not return.[2]
This joke has been evolving for more than one hundred years. In March 1900 the humorist Marshall Pinckney Wilder asserted authorship of the gag. By April 1900 a version with a comical Irishman was circulating. In 1902 a theatrical production switched the roles of the husband and wife.
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Later, at the Garter Inn, Falstaff discloses his resolve to pursue the wives of two wealthy merchants, Page and Ford. When his companions, Nim and Pistol, refuse to help, he sends his page with a letter to each wife. Nim and Pistol, meanwhile, decide to tell the husbands of Falstaff's plot.
The wives meet and compare their letters and find that they are identical. They decide to teach Falstaff a lesson. To begin, they invite him to come to Mistress Ford's house when her husband is out shooting birds with his friends. Pistol and Nim inform her husband, Ford, of Falstaff's intentions. The jealous Ford, distrustful of his wife, decides to catch her in her infidelity. He disguises himself as a man called Master Brook, seeks out Falstaff, and declares his love for Mistress Ford. He bribes Falstaff to pursue her on his behalf. Falstaff agrees before disclosing that a meeting is already arranged. This makes Ford even angrier at his wife.
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In other words, Portia is sick and tired of being excluded from her husband's world just because she's a woman. She also suggests that, when Brutus keeps things from her, he's treating her like a "harlot [prostitute], not his wife."
Here Portia says she knows she's just a girl, but since she's the daughter and wife of two really awesome men, that makes her better than the average woman. To prove her point, she stabs herself in the thigh without flinching and demands that her husband treat her with more respect. Yikes! Later she kills herself by swallowing "fire," or hot coals (4.3). This is interesting because it's usually men who are prone to violence in the play.
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Olga's father dies, bequeathing his daughter their large townhouse, and she marries Kukin. Although the couple are happy, the narrator notes that "it never stopped raining," which meant that an "expression of despair" never left Kukin's face. As his wife, Olga helps Kukin in the box office, keeps his accounts, and manages his business. She adopts his attitudes, shares his complaints, and worries about the size of their audiences. Although Olga and her husband live well, Kukin grows increasingly thin in concern over their livelihood. Kukin leaves to hire actors in Moscow, and Olga is woken one night by a loud hammering "boom! boom! boom!" on her gate. A messenger delivers a telegram informing her of Kukin's death.
Although devastated by this event, Olga spends only three months in mourning before befriending Vasily Pustovalov, the merchant of a local timber yard. The narrator notes simply that Olga "liked him very much." After a courtship lasting only a few days, during which time an old woman visits Olga and convinces her of Vasily's allure, the friends marry. Soon enough, Olga is working in her husband's office and regaling her friends with tales of timber prices as though she had worked in the business for years. She dismisses the theater as being "nonsense," becomes somber and religious-minded, and shares every opinion that Vasily holds. She even encourages her new friend, an army veterinarian named Smirnin, to forgive his adulterous wife and mend their marriage for the good of his son. The Pustovalovs enjoy a comfortable, well-fed life for six years until Vasily catches a cold in the timber yard and dies after a prolonged illness.
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Dimple initially believes that marriage “would bringher freedom, cocktail parties on carpet lawns, fund-raising dinners for noblecharities. Marriage would bring her love” (3). A naive daughter of a well-to-doupper middle-class Indian professional, and getting close (by Indian standards)to the age where her marriage prospects seem limited—she’s twenty, afterall—Dimple oscillates between fear and fantasy, constantly worrying about her“sitar-shaped body and rudimentary breasts” (4). Her notions of marriage arerather vague, derived as they are from the exaggerated art of Indian films,movie magazines, and the advice columns in “ladies’ periodicals.” Herhoroscope-matched, arranged marriage by means of the ubiquitous matrimonialadvertisements in ethnic newspapers and magazines insistently signifies thesubordinated, passive role of a daughter brought up to obey male authority. Herfather’s choice for her husband is Amit Basu, an engineer, who has pending“immigration to Canada and US” (14 ). “Marriage,” Dimple believes, “would freeher, fill her with passion. Discreet and virgin, she waited for real life tobegin” (13).
In Dimple’s initial expectations of a change in hermarriage status and in anticipation of new experiences in the United States,Mukherjee indicates the dilemma of the Indian woman whose social role, bytradition, is defined by a patriarchally encoded culture. Marriages are arranged by parents, especially thefather; the husband assumes authorityover the wife; the wife is expectedto subsume her individual and private identity into the (patriarchally) socialand cultural. As Sandra Gilbert and Susan Gubar note, “Women in patriarchalsocieties have historically been reduced to mere properties.”[8]Dimple is an object whose subjective self conforms to and is confirmed by maleideology and discourse. 2ff7e9595c
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